愛藝

The image of the bride is found more than once in the canvases of Marc Chagall. However， the work La Mariée （gouache， pastel， 68 cm × 53 cm， 1950） stands out from the general series—his wife， Belle Rosenfeld， has long been dead， and this is not an ode to love and tenderness. The picture combines both features inherent in the artists style， familiar and recognizable， and innovative ideas.

First of all， the innovations concern the choice of the color palette—a blue-gray background with a set of symbolic and fantastic images， in the foreground of which the bride stands. She has a red dress and a white veil to the floor， and in her hands a green branch of flowers—the girl seems to come out of the canvas， rushing to the viewer. One critic once remarked that looking at this picture， it seems that the girls attentive gaze of small eyes is aimed at you. The composition of the painting is “collected” from various national Jewish leitmotifs—a goat playing the cello， a musician-flutist， a girl with pigtails.

The artist also saturates the space of the canvas with symbols， such as a fish holding a candle with the armlike fin， a rooster under the cello， and， of course， a church that cannot be seen right away. A bright bride is surrounded by a mans attention—he either lovingly embraces the girl， or carefully adjusts the veil on her head. The image of the girl turned out to be somehow fantastic and unreal. Not surprisingly， many interpret this work as an attempt to express longing for what he has long lost.

La Mariée is a marvellous metaphor of the world which surrounds the painter and his beliefs. The painting depicts the intermingling of the real as well as the imaginary world. The use of vivid colors and wild imagination brings life to the painting.

An interesting fact： the picture La Mariée can be seen on the poster in the apartment of the main character in the movie Notting Hill with Julia Roberts and Hugh Grant. This was due to the fact that the writer of the famous film is a big fan of Chagall and could not miss the opportunity to “quote” him in one of the scenes.

The original painting is held in a private collection.

馬克·夏加爾的畫作中不止一次出現(xiàn)過新娘的形象。然而，這幅《新娘》（水粉淡彩畫，68厘米×53厘米，1950年）與一般的系列有所不同——愛妻貝拉·羅森菲爾德去世已久，所以此畫并非愛與柔情的頌歌。此畫既有夏加爾畫風(fēng)中為人熟知和標(biāo)志性的固有特點(diǎn)，也包含了一些創(chuàng)新理念。

首先，色彩的選擇有所創(chuàng)新：背景藍(lán)灰色，包含一組具有象征意義的奇幻意象;前景是站立的新娘，一襲紅裙，垂地白紗，手握一束綠色花枝——女孩似乎欲從畫中走出，沖向觀畫者。一位評(píng)論家曾評(píng)論說，看著這幅畫，會(huì)感覺那女孩不大的雙眼似乎在專注地凝視你。此畫的構(gòu)圖元素“集”自猶太民族的各種主題：一只拉大提琴的山羊、一位吹長笛的音樂家和一個(gè)扎著辮子的女孩。

夏加爾還在畫面上填充了種種象征意象，比如用臂狀鰭舉著蠟燭的魚、大提琴下的公雞，當(dāng)然，還有一座不太起眼的教堂。一個(gè)男子關(guān)注著光彩照人的新娘——他或許是在親切地?fù)肀ⅲ蛟S是在小心地幫女孩調(diào)整頭紗。不知怎么，女孩的形象終究有些奇異和虛幻。不出所料，很多人將這幅作品解讀為畫家試圖表達(dá)對(duì)長久失去之物的渴望。

《新娘》一畫巧妙隱喻了畫家所處的世界和他的信念。該畫描繪的是現(xiàn)實(shí)與虛構(gòu)世界交融的情景。生動(dòng)的色彩和豐富的想象賦予此畫勃勃生機(jī)。

一件趣事：朱莉婭·羅伯茨和休·格蘭特主演的經(jīng)典影片《諾丁山》中，這幅《新娘》就出現(xiàn)在主角公寓里貼的海報(bào)上。這是因?yàn)樵撈巹∈窍募訝柕某?jí)粉絲，他忍不住制造機(jī)會(huì)在某個(gè)場(chǎng)景中讓偶像“露臉”。

原畫現(xiàn)為私人收藏。